No Man of Her Own (1932) Wesley Ruggles

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Do not confuse this film with the 1950 Barbara Stanwyck film noir  “No Man of Her Own” directed by Mitchell Leisen. This 1932 release directed by Wesley Ruggles was the only celluloid pairing of Clark Gable and Carole Lombard. (Technically, Gable and Lombard were in two other films, either in small roles or as extras. Both were silent films and both from 1925, “The Plastic Age” directed by Wesley Ruggles and “Ben-Hur: A Tale of the Christ, directed by Fred Niblo).

Made for Paramount, Gable on loan from MGM, the film is a light comedy-drama about a con man named Babe Stewart (Clark Gable) who needs to escape from the big city (New York) to a small town until things cool off with the law. While there, he meets a local librarian, a young and beautiful woman named Connie (Carole Lombard) who is board with the humdrum life of small town living and will do almost anything to  leave her dull surroundings. Babe spots her on the street and follows her to the library where she works, though Babe does not seem the type to frequent libraries. Babe pursues the attractive librarian, and Connie is willing to be caught despite a mother (Elizabeth Patterson) who keeps her on a short leash.

No Man of Her Own- Librry scence     On a flip a coin, Connie gambles not only her virtue but also her future. They get married and go back to New York where Babe plans to continue on his career as a con artist. They move into Babe’s luxurious depression free apartment. Connie, unaware of Babe’s real and illegal profession, believes he is working as a broker on Wall Street. With the move to the big city, the audacious Connie suddenly switches gears and goes from an adventurous young woman to spending the remainder of the film trying to reform Babe to the straight and narrow. When she discovers a pair of marked cards belonging to her husband, she realizes that he has been lying about his career and arranges the deck so Babe will lose. Upset with her chicanery, Babe at first wants to give her a couple of thousand and send her back to her mother. Then he decides to go to Rio de Janeiro with his partners to do some big time gambling, however realizing he loves her, he instead arranges to get himself arrested for a ninety-day jail-term. This so he can square himself with the law, while Connie living with her mother during this time, believes he is in South America. Of course, it all ends happily for the couple in the Hollywood tradition.

No Man of her own- publicity shot   Released at the end of 1932, this pre-code film is loaded with smart bright dialogue and racy pre-code scenes. We see both Lombard and Gable in separate showers scenes and we watch Lombard strip down to a bra and Victoria Secret style undergarments, running back and forth across a room when Gable unexpectedly knocks on her cabin’s front door. We then see her put on a pair of lounging pajamas, but not before the filmmakers make sure we know she is removing her bra. The most famous risqué scene in the film takes place earlier in the library when they first meet when Gable purposely request a book located high up on the top shelf. Lombard has to climb a latter and lean over just enough and at the correct level for Gable to admire her shapely legs. Today, this scene is not very provocative but at the time, it seemed to irritate the guardians of decency and became a symbol in the fight for cleanup of movies.

No Man of Her Owncarole-Gable still_03 There is quite a bit of sophisticated dialogue throughout the film, for example, early on Kay (Dorothy Mackaill), one of Babe’s partners and his mistress tells Charlie (Grant Mitchell) another cohort in the scheme that “next time you play my uncle, cut out those wet kisses.”  Later on Connie says “The girl who lands him will say no and put an anchor on it…But isn’t it tough when all you can think of is yes?”

Both lead characters are allowed to be adult and mature, unlike in most of today’s romantic comedies where the characters, male and female, seem to thrive on infantile behavior.

No Man of Her Own Gable, Lombard, MacKaillnormal_1 The rapport between Gable and Lombard is easily apparent. Both are young and extremely attractive, however they were not romantically involved off screen for a couple of years yet. On screen, their scenes sizzle. Just check how they look at each other in their love scenes. Gable was still married to Ria and heavily involved in an affair with Joan Crawford. In fact, one of the reasons, MGM lent Gable to Paramount was to get him away from Crawford in hopes of cooling off the romance. Lombard, at the time, was still married to the seventeen year older William Powell. At this point, Gable thought Lombard’s well-known salty tongue was a bit much, though later on he would say proudly that she could out curse any man he knew. Lombard’s feelings toward Gable at this point are best surmised by her parting gift after the shoot was over, a ham with a photo of him on it.  Various biographers tell the story that politically Lombard and Gable were at opposite poles, maybe. Lombard was a stanch Roosevelt democrat who hated Herbert Hoover and use to say so loud and clear. Gable, one day, came on the set wearing a Hoover button, which Lombard proceeded to rip off him and said, “You can shove this up Louis B. Mayor’s ass!” Mayor, an unwavering Republican insisted that his stable of stars all vote Republican. It’s not known for sure how Gable voted.

normal_caroleclark2    Before Gable was secured for the picture (in a trade that involved Bing Crosby going to MGM to co-star in a film with Marion Davies) George Raft was considered for the role of Babe. Miriam Hopkins was originally scheduled for the role of Connie but was upset about Gable getting top billing and refused to do the film. The supporting cast consists of Dorothy Mackaill, as Babe’s mistress Kay who he unceremoniously dumps early in the film, Grant Mitchell as Charlie, one of Babe’s “gang”, George Barbier and Elizabeth Patterson as Connie’s parents.

Gable’s name is the only one that appears above the title. Lombard, still a rising star and Dorothy MacKaill share second and third billing below the title. While Lombard was yet to reach the height of her star power, during the filming, Paramount was making a big fuss over her to Gable’s dismay. He considered her a bit of a prima-donna and gave a pair of ballerina slippers as a parting gift.

No mn of her onwnormal_carole-lombard-gable-ham The film seems to be sometimes mislabeled as a screwball comedy however, after watching it there is little to support that label. Screwball comedies usually contain farcical elements, fast-talking dialogue, and slapstick humor. Generally, the couples are mismatched and continually battle each other, none of which applies in to his film.  It is also generally considered that screwball comedy did not come to prominence until 1934 with Frank Capra’s “It Happened One Night.”  Finally, Screwball comedies actually came about largely because of the Production Code that came into effect in 1934 which ended much of the pre-code delights in this and many other early sound films.

While this is no great classic, the film is enjoyable, with some sharp dialogue and pleasant performances and the only chance to see Gable and Lombard together as lovers on film.

Sources:

Clark Gable: Tormented Star by David Brett

Clark Gable: A Biography by Warren G. Harris

Too Many Husbands (1940) Wesley Ruggles

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“She’s been a good little wife.”

“….yes, to the both of us”

Jean Arthur’s talents shine in this light, witty, sophisticated comedy.  In “Too Many Husbands” Jean has, well too many husbands, one too many to be exact. Husband number one, Bill Cardew (Fred MacMurray), is presumed lost at sea. His widow, Vicky (Jean Arthur) marries Bill’s publishing partner, Henry Lowndes (Melvyn Douglas). At the one-year anniversary of Bill’s disappearance, Henry is having Bill’s office cleaned out and his name removed off the firm’s door. Meanwhile, Vicky’s father who is at home answers a phone call, on the other end of the line is Bill announcing that he is alive! Sound familiar? Well, yes since the premise is similar to the Cary Grant, Irene Dunne film, “My Favorite Wife” which was released in May of 1940 two months after “Too Many Husbands” hit the screen. Only in the Garson Kanin directed movie Cary Grant ends up married with two wives.   Too mnay husbands

The grand reunion is needless to say a confusing one especially for our heroine who soon realizes she loves both men. She in fact loves them so much she cannot make up her mind who she wants to stay married too. Both men compete to win Vicky’ heart hoping that she will dump the other, however, it turns out Vicky is enjoying the attention she is receiving and cannot, or will not, make a decision. The two husbands start to rekindle their friendship and conclude they are being played for saps. They decide to teach Vicky a lesson by disappearing. Unfortunately, she calls the police who uncover that our heroine is a bigamist. The case is brought before the court where the presiding, judge rules who Vicky is officially married to. However, it does not end there since the loser refuses to give up his pursuit of his “wife.” Vicky and the two men pretty much ignore the court’s decision and as the films ends, she and her two “husbands” are dancing the night away as a threesome.

Too Many Husbands poster    “Too Many Husbands” is a fun film with three wonderful and charming performances, directed with a light touch by Wesley Ruggles. Jean Arthur, and a witty script, though are the real reasons to watch this film. She is enchanting and simply seems to be having a good time in the role. Melvyn Douglas provides a stylish touch having already whet his feet with sophisticated comedy having just come from filming Lubitsch’s “Ninoctchka.”  Fred MacMurray is the less sophisticated of the two playing Jack Lemmon to Douglas’s Walter Matthau. MacMurray was fortunate enough to have worked with both Arthur and Carole Lombard. The film opened in March 1940 at Radio City Music Hall and surprisingly, at least to me, did not do well at the box office. The script, written by Claude Binyon, was based on a play called “Home and Beauty”, by W. Somerset Maugham. There are also entertaining performances by Henry Davenport as Vicky’s father, Melville Cooper and in small role as a police officer is Edgar Buchanan.

“Too Many Husbands” is a somewhat more suggestive film than “My Favorite Wife” especially the ending where it seems  Vicky will be continuing to have a relationship with both men. There is also an underlying hint of gay references in the dialogue, when the two husbands are forced to share a bedroom. It is surprising how much the filmmakers were able to slip passed the censors. One wonders if they were too busy paying attention to the bigamy plot letting these other subtle insinuations get by?Jean Arthure photo

As previously mentioned, only a couple of months later the better-known “My Favorite Wife” was released. In another touch of irony, both films were remade years later, “Too Many Husbands” was turned into a musical in 1955 called “Three for the Show” with Betty Grable and Jack Lemmon and “My Favorite Wife” in 1963 as “Move Over, Darling.” This last film has a long history of it own, which is well know. Originally, it was to be a vehicle for Marilyn Monroe co-starring Dean Martin called “Something’s Got to Give.”  Monroe was difficult during the shoot and was fired by 20th Century Fox who then signed Lee Remick as her replacement. Dino walked off the film saying, no offence to Remick but he signed to star with Monroe. Fox rehired Monroe but unfortunately her problems ran deep and was soon found dead of an overdose. Production was shut down and the film was never completed. The story was resurrected a couple years later with Doris Day, James Garner and Polly Bergen, and now called “Move Over, Darling.”

“Too Many Husbands” is a pleasant diversion not reaching the level of screwball greats, still it has aged well with Ms. Arthur’s character looking more modern and certainly more liberated than most female characters of the day. The film has recently been released on DVD as part of the “Icons of Screwball Comedy Volume 1.”